My brother and I grew up on the campus of the Indian Institute of Science, Bangalore as my father was an academic there from the mid-1960s until his retirement in the late 1980s. Those were undoubtedly the happiest years of my life, not the least because of the quiet and semi-wild surroundings of the house in which we lived.
Lion Cross Point by Masatsugu Ono has been recognised as a lyrical and a psychologically astute novel, lucid but spare, haunting with a tangible evocation of mystery. It has been beautifully captured in translation from Japanese by Angus Turvill, an award-winning translator.
Masatsugu Ono himself is the recipient of the Asahi Award for New Writers, the Mishima Yukio Prize and the Akutagawa Prize, Japan’s highest literary honour. Born in 1970 and having first published at the beginning of this century, Ono’s work belongs to the post-Murakami period, strongly marked by the seriousness of modern Japan’s literary tradition.
Lion Cross Point portrays the mind of ten-year-old Takeru, who arrives in his village to live in his mother’s home by the sea. He is haunted by memories of unspeakable atrocities committed against his mother, his older brother and himself in distant Tokyo. As Takeru is befriended by Mitsuko, his new caretaker; by Saki, his spunky neighbour and by Ken Shiomi, his mother’s childhood friend, he discovers his mother’s history and moves inch by inch from the palpable and submerged layers of trauma to a new idea of family and home. The book emphasises the fact that memories and dreams are not individual aspects of one’s personality, but shared by the community and the environment, making it possible to heal through others, and through the forces of dreams and the seascapes that imbue them all. The boy returns to his mother’s roots to find catharsis and truth in a setting by the sea.
Lilting Bengali melodies drift out of its pages. A crackle of old transistor radios animates the backdrop of ayahs, chowkidars and mosquito nets as crows descend for shelter amongst the banyans of a tropical night. Crow Dusk (Paekakariki Press), Mark Floyer’s collection of poems about Calcutta, the city where he spent his early childhood, is replete with images, sounds, smells and reflections about a place, a people and a country which is intricately woven into the fabric of his life and that of his ancestors.
Floyer’s great, great, great grandfather was John Shore, Governor General of Bengal (1793-1797) succeeding Cornwallis, who also became President of the Asiatic Society. Shore was a close friend of William Jones. The poet of Crow Dusk, while mentioning his ancestor in conversations, characterises him as ‘obscure’, perhaps rightly so, in contrast to his predecessor Cornwallis. However, in his well-crafted poems Floyer, who cites Arun Kolatkar as a major influence, casts the centuries old association of his family with India and the region as a backdrop for the evocations of boyhood and his renewed engagement with the city of Calcutta.
Half of his Calcutta poems are about his memories of the city, his home here and his family and the other half is about his return to find how it has changed. In the eponymous Crow Dusk, the poet writes,
And always crows
suspended high on rooftops and telephone wires
gathering to croak their dusk chorus
their black hoods
silhouetted against the purple disc of the sun. …
Sights, sounds and smells of this Calcutta of the late 1950s come alive in these carefully crafted imagist poems which surprise us with their sharp remembrances, distanced as they are by the smoke and dust of five and a half decades. This digging into the past is never an easy task as he alludes to in the poem Underwater, ‘I probe my diver’s torch for the rusting detritus of memories’.
Under the theme “Feeling Nostalgic”, the 10th Hong Kong Literature Festival (HKLF) opened on June 26 with a wide range of activities for the public to appreciate the use of memories and reminiscences in literary works.
Presented by the Hong Kong Public Libraries of the Leisure and Cultural Services Department (LCSD), the festival runs until July 13. Over 30 interactive literary activities are being organised including a thematic exhibition, symposiums, comparative readings of literature and adaptations, guided reading sessions, a good read series, group reading workshops, poetry recitals, dialogues with creators and interflow programmes. All events will be held at the Hong Kong Central Library (HKCL).